The Gospel According to Thomas Jefferson, Charles Dickens, and the Count Leo Tolstoy: Discord (by Scott Carter)
A growing amount of the modern forms of entertainment lack that aspect that art and theater typically target and thrive upon: the demand for mental interaction and the inherent intuition on the part of the viewer or reader. When Scott Carter was penning this impossible interaction between three of the world’s most famous and influential thinkers, he must have remembered that greatness comes from loss and mistakes; that it is also born out of perseverance and drive; and, perhaps most significantly, greatness stems from an absolute addiction to seeking and examining potential answers to the most cryptic questions of this world, regardless of the era in which one lives.
Luckily for theatergoers of First Presbyterian Theater’s final show of the 2017-2018 season, these cryptic questions are the crux of the exchange between Thomas Jefferson (d. 1826), Charles Dickens (d. 1870), and Count Leo Tolstoy (d. 1910). Each man enters a solemn room with his most recent memory being the moment he died. Once they learn one another’s identity and general attitude toward religion and philosophy, the story shoots off in a flurry of intellectual perspectives mixed with light-hearted humor.
Scott McMeen returns to this stage as Jefferson and provides an optimistic performance as the former president and framer of the Constitution. This season, he warmed our souls as Ebenezer Scrooge in the modern take on A Christmas Carol. Here, McMeen rations the widely accepted and respectable historic view of Jefferson with an introspective glance at a man whose morals on paper were, perhaps, not as sound in reality.
Brian Enrnsberger treats us to a confident and quite humorously pompous version of Charles Dickens. While Ernsberger has performed with FPT and other Fort Wayne theaters in the past, his return to the Summit City stage fills a six-year void. With occassional quips to “his” own works throughout the discourse among all three men, Ernsberger successfully captures the often-exaggerated aloofness of the British author.
Rounding out this tremendous trio, Thom Hofrichter enters as Count–but don’t call him that!–Leo Tolstoy. With his convincing Russian accent, Hofricter exhibits his passion for language, philosophy, and religion in convincing fashion. This play brings an end to Hofrichter’s twenty-first year with the theater as its Managing Artistic Director.
The story examines some of the most controversial issues of mankind, but the title is indictative of the premise of how each man had at one point in his life rewritten the opening four books of the New Testament. The arc of this after-life summit of great thinkers examines how each man from his generation and region contemplated the biblical text and specific passages. Citations to exact verses are identified, but when some disparity and disagreement evolves, the action of the play ignites. These men are humans after all, so even in death they find themselves desiring to be heard, wanting to be right, and verbally sparring over their points of view.
Director Chance Parker suggests that the play takes each character “on a journey through essential questions pertaining to life, truth, and faith in every meaning of the word.” Parker, a recent graduate from IPFW, co-directed this season’s Red with Hofrichter.
Jeannie Pendleton’s resume in costume design is deep and respectable, and she brought her talents to this cast and performance. Each character is not only distinctive in reputation and language, but each man’s clothing represents another facet of his personality and perspective.
Rae Surface and Austin Berger return to FPT for this performance with positions as technical director/set designer and light board operator, respectively. Surface’s simplistic set is suggestive of a cleared mind in the after-life. Though the props are minimal, they function appropriately throughout this dialogue-heavy performance.
Bill Lane is the projection designer and operator, and Sara Ihrie–a freshman at Snider High School–returns to the sound board after a successful stint in the same position for the theater’s previous play, Hamlet.
One does not need to have a deep understanding or experience with each of these men’s accomplishments or publications for the story and its themes to resonate. The universality of the themes shines through in each scene. Upon its conclusion, audiences are all but forced to contemplate the same issues for themselves and how the shared points of view apply to their surroundings. This serves as a formidable end to another outstanding season from the various casts and crews who work tirelessly at the First Presbyterian Theater.